EuroScreen: Quantifying Location Placement Value - English Tourism to Europe

Quan%fying Loca%on Placement Value November 2014

Commissioned by:

Contents

Project Overview

Region 1 – London

Region 2 – Ystad

Region 3 – Apulia

Findings & Appendix

Region 4 – Malta

About Human Digital & Case Studies

Project Overview

Preface

This exploratory project, commissioned by Film London and Euroscreen, seeks to quan?fy Loca?on Placement Value through considering the total minimum chances a produc?ons’ loca?on has of being men?oned both online and offline and conver?ng this into an equivalent adver?sing value. Part of this process u?lised a cuFng-‐edge methodology which analysed a social media dataset of tourist generated, loca?on-‐based commentary (an ini?al dataset of 30,480,732). Social media data provides us with the hard evidence necessary to understand how a tourist feels towards a par?cular loca?on and why, whether that is the Blue Door in London (NoFng Hill) or Ystad, Sweden (Wallander). In addi?on natural online commentary surrounding a loca?on is hugely valuable both in its permanence, and is infinitely more engaging than tradi?onal adver?sing. This data-‐set brings colour to the claims made in this paper, and represents a brand-‐new methodology to evaluate Loca?on Placements. Lastly, it can be used to complement and strengthen other forms of more tradi?onal research in this area. We hope you enjoy the contents.

Daniela Kirchner COO, Film London Sarah Ward CEO, Human Digital

Quan%fying Loca%on Placement Value

4

Context

The Relentless Pace of Change

3,000,000,000

2,250,000,000

1,500,000,000

750,000,000

2,999,337,706 Global Internet Users

6

Prolifera%on of Social Media Data During Holiday

0%

10%

20%

30%

40%

50%

60%

DURING HOLIDAY AFTER HOLIDAY

Text100 Survey 2012 4,600 respondents across 13 markets

Engagement con%nues aYer consumers return from holiday

7

Tourism Spend vs. Internet Penetra%on

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%

0

20

40

60

80

100

120

140

Nigeria Indonesia Mexico India South Korea

Brazil Japan France United Kingdom

Russia Germany United States

China

Internet Pen

etra%o

n (%

of total pop

ula%

on)

Tourism Spe

nd ($

billion

)

Tourism spend Internet Penetra?on Linear (Internet Penetra?on)

Strong posi%ve correla%on

A posiJve correlaJon exists between Tourism Spend and Internet PenetraJon. Generally speaking, countries with higher internet penetraJon also tend to have higher tourism expenditure, highlighJng the importance of uJlising Online to understand tourist behaviour.

8

Objec%ves

Execu%ve Summary (I)

CONTEXT

AIM

EXECUTION

A body of academic research suggests film and TV produc?ons deliver added marke?ng value to a region through increased exposure and the “screen tourism” that results from a loca?on being featured in the produc?on. This loca%on exposure represents a valuable commercial opportunity to the tourism sector.

① Quan?fy the addi?onal (loca?on adver?sing) value that film and TV produc?ons can deliver through ‘loca?on placement’, beyond the primary produc?on spend.

②  Provide a quan?ta?ve methodology to assess the ‘loca?on placement’ value of the produc?ons secured (feature films and TV) across EuroScreen regions on tourism and brand.

③ Assess the return on investment and media value (in adver?sing terms) that the respec?ve region / city achieves through featuring in a film or TV produc?on.

①  Develop a methodology that allows regions and ci%es to quan%fy the ‘loca%on placement’ value of produc%ons filming in the des%na%on beyond the primary produc?on spend and the return on investment / media value generated.

②   Test the methodology developed with the following EuroScreen regions – Ystad (Sweden), Apulia (Italy), London (UK) and Malta.

9

Scope

Execu%ve Summary (II)

Apulia Produc%ons:

① Mine vagan? (2010)

② BraccialeF rossi (2014)

③ Che bella giornata (2011)

London Produc%ons:

① Harry Porer (2001-‐11) ② Sherlock (2010) ③ NoFng Hill (1999)

Malta Produc%ons:

① Gladiator (2000) ② Game of Thrones (2011)

③ Popeye (1980)

Ystad Produc%ons:

① Wallander (both versions, excluding books – 2005)

② Kyss mig (2011)

③ Maria Larssons eviga ögonblick (2008)

10

Research Sta%s%cs

Execu%ve Summary (III)

TOTAL REACH (APPROX)

ANALYSED CONTENT

QUANTITY OF CONTENT (SAMPLE SIZE) CHANNELS ANALYSED

2,200,000

30,480,732

1,617 238

CHANNELS ANALYSED: EXAMPLES

NUMBER OF SOCIAL PLATFORMS 12

11

Summary of Findings

Findings

Through the tech-‐enabled sampling of 30,480,732 pieces of user generated content, and the human-‐led analysis of around 1,617 individual unique sources within this set, this research executes the following objecJves:

Demonstrates the applica?on of a methodology using social media data as an engagement proxy to measure ‘loca?on placement value’ in twelve unique produc?ons across mul?ple languages (including one series of films).

Shows that TV series can perform as well as movie produc?ons in their loca?on placement value – and oten perform even berer if the loca?on is easily recognisable

Exposes a definite link between a produc?on’s seFng and subsequent loca?on-‐based exposure and/or documented visits to a loca?on. To what degree depends on the specifici?es of the produc?on and the nature of the featured loca?on (fic?onal, recognisable, etc.).

Provides qualita?ve insight surrounding each individual produc?on that may be used to improve future place-‐based marke?ng efforts and improve integra?on or partnership between the screen and tourism sectors.

1. THE POWER OF SOCIAL

3. TV CAN PERFORM AS WELL AS FILMS

2. LOCATIONS RELATE TO EXPOSURE

4. IMPROVE PARTNERSHIPS

12

Quan%fying the value as adver%sing

Methodology – Calcula%ng Loca%on Placement Value

PERCENTAGE OF LOCATION MENTIONS MINIMUM VIEWERS DUNBAR’S NUMBER MINIMUM ADVERTISING

COST zz

Percentage of loca5on men5ons = The minimum proporJon of producJon-‐related conversaJon that also references region-‐specific locaJons (which was anywhere between 0.01 and 20% depending on the producJon). Minimum viewers = The least amount of people that have viewed the producJon according to Euroscreen’s figures, other sources, and adjustments for inflaJon when using older box office figures. Dunbar’s Number = The most meaningful social connecJons someone might have (this is generally accepted as roughly 150), rather than larger social media ‘follower’ or ‘friend’ figures. Minimum Adver5sing Cost = The least value that would be spent in generaJng equivalent exposure, using the present cost of premium online adverJsing (£0.025/€0.033 per impression).

MEANINGFUL EXPOSURE ONLINE OFFLINE EXPOSURE VALUE

13

By taking a representa5ve and prac5cal sample of loca5on-‐based commentary we are able to gain a range of insights into the audience and their locaJon-‐based conversaJon. These un-‐prompted voices can offer clues as to how recognisable a locaJon is, how desirable it is, and what type of person it might appeal to.

With a human-‐led approach (rather than ‘automated’ tools) it is possible to examine how an audience feels about a loca%on.

This research uses a scale that reveals the propor?ons of posi?ve, nega?ve and unsen?mised /factual commentary surrounding a produc?on’s loca?ons. Subject to the availability of data, it may also be possible to see how people respond to a loca?on as they move along the image building journey.

The un-‐prompted voice of the audience

Qualita%ve Insights

The post-‐produc?on effects of loca?on placement are oten assessed in terms of image building or image forma?on (Croy, 2004 and Vagionis, 2011).

By evalua?ng individual sources it is possible to place a member of the audience along a journey of loca%on awareness – they either men%on a loca?on in general, know and recognise a loca?on, desire to visit it, intend to visit, or have already visited it. This data can then show the development of loca?on placement for each produc?on.

The human-‐led approach also enables the research to go beyond the limits of a pre-‐defined data set in order to gather extra demographic metrics that might not be readily available in ini?al samples of data from sources such as Twirer or Facebook.

For example, a person may misrepresent their loca?on, gender or age in a manner which our researchers are trained to recognise and report within our analysis. This means we can augment the ini?al scrape with human-‐verified accuracy.

IMAGE BUILDING SENTIMENT QUAL-‐QUANT DEMOGRAPHICS

14

0%

20%

40%

60%

80%

100%

Men?on Knowledge Desire Intent Visit

AUDIENCE LOCATION AWARENESS

Very Nega?ve Nega?ve Mixed Posi?ve Very Posi?ve Unsen?mised

OVERALL SUMMARY

Top-‐line summary detailing (where possible) loca?on awareness, most prominently discussed loca?ons, other topics of conversa?on, and other notable findings.

DEMOGRAPHIC PROFILE

Summary of findings surrounding documented, or poten?al, visits to loca?ons by produc?on viewers

(depending on data availability).

LPV scorecard format for each produc%on (example)

Scorecard Format

QUANTIFIED LPV VALUE

€ XX (average yearly figure) Least value of the free ‘earned’ loca?on exposure/conversa?on in adver?sing terms.

The image building journey… (e.g. 25% of the audience displays a ‘knowledge’ of the loca?on)

…and sen?ment towards loca?on. (e.g. half of visitors were posi?ve

about the loca?on)

15

Region 1 – London

Data surrounding produc?ons featuring London was abundant and much of this loca?on-‐based commentary was very rich in detail. The high amount of documented visits provides a good basis for insights surrounding loca?on placement value and audience demographics, but was considered alongside the fact that London is also a major tourist des?na?on in general.

Data Summary

London

“Myself and my girlfriend of 5 years are heading to London soon, and we're doing the whole Harry Poier thing (WB Studio Tour, visit the various locaJons etc.). Where would be the most romanJc place to propose in your opinion? We're both Poierheads and I definitely know this is something she'll eat up. I was thinking The Great Hall on the WB Studio Tour?”

“Watching movies filmed in London like Nomng Hill, makes me miss the city so much more.”

“There are a good few Sherlock locaJons in London, so I put together walk taking in some of the major filming spots – click on the map at the boiom for full direcJons if you want to follow it yourself.”

– ontheluce.com (Blog)

“Photos I took at the Harry Poier Studio Tour in London, contains preiy much everything for those who cannot make it! Totally! I travelled from Malta just to head there and have no regrets :) If you're a big Harry Poier fan you'll love it, if you just watched the movies and are not really that interested you most probably sJll will because it's like an interacJve museum.”

COMMENTARY VOLUME & QUALITY

ILLUSTRATIVE COMMENTARY

17

€13.3M

Produc%on Overview

London

HARRY POTTER (2001-‐2011)

NOTTING HILL (1999)

SHERLOCK (2010-‐Present)

€24.9M

€13.7M

LPV GENDER AGE COUNTRIES REASON FOR LOCATION VISIT

65% FEMALE

35% MALE

77% FEMALE

23% MALE

70% FEMALE

30% MALE

16-‐24

25-‐35

16-‐35

50% UK 25% US

25% Other

31% UK 12% US

57% Other

45% UK 55% Other

43% PRODUCTION 38% BY CHANCE 19% OTHER

55% PRODUCTION 45% OTHER

83% PRODUCTION 17% OTHER

PRODUCTION

18

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%


Unsen?mised

Very Posi?ve

Posi?ve

Mixed

Nega?ve

Very Nega?ve

①  Harry Porer generated a large volume of loca%on-‐aware and visitor commentary.

②  Common topics concerned interior sepngs (39%), cityscapes (19%), and general tourism (17%).

③  Sen?ment towards loca?ons was split between posi%ve and factual loca?on commentary.

LPV Scorecard – Loca%on Placement Value for Produc%on

Harry Poqer (Series of Films, 2001-‐2011)

VALUE OF LOCATION CONVERSATION (ANNUAL)

The region’s freely ‘earned’ social media conversaJon value as a least equivalent

adverJsing cost.


AUDIENCE LOCATION AWARENESS DEMOGRAPHIC PROFILE

GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT

65% FEMALE / 35% MALE

16-‐24 YEARS OLD

50% UK / 25% USA / 25% OTHER [32]

POSITIVE

43% HARRY POTTER 38% BY CHANCE 8% UNRELATED

€13.3m ④  Prominently discussed London-‐based loca?ons: Kings Cross (39%), Harry Poqer studios (13%), the Millenium Bridge (7%), and Leadenhall Market (4%)

⑤  However, 19% of commentators men?oned general or fic%onal loca?ons by people without clearly discernable loca%on knowledge.

Sample: 430

19

As a successful movie series, Harry Poqer has undoubtedly raised the profile of London and also brought many people to the city – or studios in Herzordshire – either par%ally or primarily because of the produc?on. The Harry Porer audience is also very sociable online and perfectly demonstrates the manner in which fans recommend, direct and promote loca%ons to one another through social media.

Key Insights

Harry Poqer (Movies, 2001-‐2011)

CONTEXT, THE AUDIENCE & SOCIAL MEDIA


“We visited the King's Cross StaJon on our trip to England in November 2005. This train staJon is a beauJful historic building on the outside with very modern faciliJes on the inside. You can go to plaqorm 9 3/4, located within the staJon. The personnel were quite happy to assist us with direcJons. The plaqorm is set up with a shopping cart halfway through the wall, to recreate the scene in a Harry Poier Movie. A great photo opportunity for Harry Poier fans. It's easy to find, and the inside environment is very friendly and comfortable.”

“Leadenhall Market was used to represent the area of London near The Leaky Cauldron and Diagon Alley in the film Harry Poier and the Philosopher's Stone.”

“The spiral staircase in the South-‐West tower featured in Harry Poier and the Prisoner of Azkaban (2004) as the stairs in Hogwart's where Harry finds a crystal ball and returns it to Prof. Trelawney.”

“Where harry poier was filmed!!😀 #londonzoo #harrypoiergeek #repJlehouse”

20

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%


Audience Loca?on Awareness

Unsen?mised

Very Posi?ve

Posi?ve

Mixed

Nega?ve

Very Nega?ve


Nopng Hill (Movie, 1999)


①  NoFng Hill generated a huge loca%on-‐aware discussion and a strong posi%ve desire to visit Nopng Hill (23% of loca?on men?ons also cited some kind of posi?ve desire to visit).

②  Conversa?on topics concerned cityscapes (63%), general tourism (21%) or nostalgia (11%).

VALUE OF LOCATION CONVERSATION (ANNUAL) AUDIENCE LOCATION AWARENESS


€24.9m ③  Sen?ment towards the loca?on was almost en?rely

posi?ve except for the odd complaint about the ‘reality’ of present day NoFng Hill from those who knew the loca?on well.

④   Nopng Hill (38%) and London overall (33%) accounted for most loca?on men?ons. Specific loca?on men?ons included Portobello Road (11%), the bookshop (9%), and the blue door (8%).

SATISFACTION

55% Produc%on 45% Other

DEMOGRAPHIC PROFILE

GENDER

AGE

COUNTRIES

REASON FOR VISIT


25-‐35 YEARS OLD

31% UK / 12% USA / 10% Brazil

POSITIVE


adverJsing cost.

Sample: 124

21

The audience not only knows that this is set in London, but also clearly iden%fies the NoFng Hill loca?on as a specific area of London. Whilst they may subsequently visit London for other reasons as well (around 70%), their visit to NoFng Hill specifically, is strongly inspired by the film (just over half of the audience who had visited London then visited NoFng Hill as well).

Key Insights

Nopng Hill (Movie, 1999)

“Yay Nomng Hill bookshop from the movie! London in 24 days!”

“I love going to Nomng Hill. Of course, one looks for the blue door of 'Nomng Hill' fame and does not find it. Julia Roberts is also absent! However, the street is an interesJng mix of older shops and the inevitable supermarket. Daunt's Books is along the road, Recipease is on the corner and there is a cheerful pub with good meals. Portobello markets are fun and every year there is the Nomng Hill Carnival...”

“I loved going to Nomng Hill. Nomng Hill really became famous because of the movie starring Hugh Grant and Julia Roberts. It's a great locaJon in London. It has a more "home" feel than the rest of the city. Don't forget to stop by the bookshop and the blue door apartment that were featured in the movie.”

“'The Blue Door' from Nomng Hill and a very excited Emma 😝 ”



22

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%



Unsen?mised

Very Posi?ve

Posi?ve

Mixed

Nega?ve

Very Nega?ve


Sherlock (TV Series, 2010-‐Present)

83% Sherlock 17% Other

DEMOGRAPHIC PROFILE

GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT


16-‐35 YEARS OLD

45% UK / 55% Other (29)

POSITIVE

Sample: 320



adverJsing cost.



€13.7m ①  Whilst Sherlock generated a lot of unspecific loca?on

men?ons, most of the audience recognised and discussed the contemporary London-‐sepng.

②  The mostly ‘geeky’ and fact-‐based commentary concerned 27 specific London-‐based loca?ons including Speedy’s Café (26%), “221b Baker Street” (25%), St Bart’s (12%) and many others (1-‐3%).

③  Most commentary concerned the city seFng (72%) but a great variety of small discussions concerned other factors – general tourism, interiors and other arrac?ons; especially nostalgia from ex-‐pats, ‘shrining’ loca%ons, seeing the live filming or cast, ‘pilgrimages’ and ‘cosplay’.

23

Fan culture around a produc?on can generate significant visitor numbers for small featured loca?ons –such ‘shrining’, cosplay and other ac?ve fan performances might then feed back into promo?ng the produc?on to others. Audience members who already live in a region will go out of their way to visit loca?ons. Therefore, a produc?on that uses a contemporary seFng with ‘real’ loca?ons can generate a very significant loca?on placement value.

Key Insights

Sherlock (TV Series, 2010-‐Present)

“..a while back when I was in London, my friend and I tracked down some Sherlock locaJons and I took printed pictures with me to catch the exact scene…”

“ …St. Bart’s Telephone Box Is The Most Heartbreaking Thing Ever./ Took me a while to find it, but I walked around a corner and suddenly found myself here: People sJll leave notes in the phone box and it’s heartbreaking. Here are a couple of notes:/ We need season 3 now. My heart can’t deal with this… ”



24

Overall Summary

London

KEY CONCLUSIONS

It is clear that many visits to the region are par%ally or

fully inspired by a produc?on featuring London, and

these have contributed to the high LPV of the

produc?ons analysed in the city.

Fan culture ac?vi?es like ‘shrining’, cosplay and urban

fan art, mean that loca?on placement value feeds

back into promo?ng the produc?on alongside the

loca?on.

London performs berer for LPV the more ‘real’ and recognizable its presenta?on. e.g. Harry Poier has been seen by far more people than Sherlock, but its use of ficJonal locaJons means that London gets less exposure.

In the best cases of loca?on placement, it can be hard

to separate an audience’s associa?on between a

produc?on from its loca?on – in this respect, London

is integral to NoFng Hill and now perhaps vice versa.

1. LONDON HAS HIGH LPV

3. CULT FILMS HAVE HIGHER LPV

2. REALITY TRUMPS FANTASY

4. PRODUCTION ASSOCIATIONS WITH LOCATION

25

Region 2 – Ystad

Data Summary

Ystad

Overall, there was ample data surrounding the Ystad region to draw insight from user-‐generated content, but it varied in amount and richness. Wallander performed excep%onally well, and Maria Larssons eviga ögonblick viewers also provided plenty of men%ons for Malmö. However, Kyss Mig suffered from few regional men%ons, as data was mostly limited to statements associated with Sweden.



“It was great to see the Amalteaman Anton Nilson and the MeeJng of Three Kings on Stortorget in Malmö – not to menJon the scenes in the old house on Hasselgatan in Malmö. We were living right next to it for 10 years in Björkgatan in Sofielund.”

– hip://berJlius.wordpress.com (Blog)

“I am Kurt Wallander.”

27

Produc%on Overview

Ystad

40,900 KYSS MIG (2011)

MARIA LARSSONS EVIGA ÖGONBLICK (2008)

WALLANDER (2005-‐Present)

260,800

22.8M


81% FEMALE

19% MALE

50% FEMALE

50% MALE

50% FEMALE

50% MALE

16-‐60+

16-‐60+

25-‐60

27% UK 20% US 17% SWE

70% SWE 30% Other

44% UK 20% US

36% Other

FILM PREMIERE NOSTALGIA

NO DOMINANT REASON

NO DOMINANT REASON

PRODUCTION

28

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%



Unsen?mised

Very Posi?ve

Posi?ve

Mixed

Nega?ve

Very Nega?ve


Kyss mig (Movie, 2011)

DEMOGRAPHIC PROFILE

GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT


16-‐60+

27% UK / 20% US / 17% Swe

POSITIVE

FILM PREMIERE / NOSTALGIA

①  Kyss mig generated some loca?on-‐based commentary but scored low in overall value due to a lack of recogni%on for the Ystad or Skåne region – but almost everyone did recognise it as a story set in contemporary Sweden.

②  The only nega?ve comment about the produc?on misiden?fied it as a Norwegian film.



adverJsing cost.



€40,900 ③  Discussion surrounding the loca?on was oten very

posi?ve and talked about the ‘beau%ful’ or ‘bucolic’ countryside and landscapes (67%), nostalgia for Sweden (7%) or other arrac?ons including the Swedish language and culture (20%).

Sample: 49

29

“We really enjoyed watching this, great Swedish country side, familiar faces (although Ruth isn't as glam or as skinny as she is in recent Call girl). Found it very moving, real, edge of seat, will they wont they, brilliant... and then the ending was pure Hollywood rom com and I went to bed in a terrible mood.”

Key Insights

Kyss mig (Movie, 2011)

Sen?ment towards the produc?on and the loca?on was overwhelmingly posi%ve (only 6% of comments about the film and 2% of the loca?on comments were in any way nega?ve), the seFng was almost always recognised as Sweden and not the region of Ystad. Therefore, it is possible that the film did not contain enough regional prompts to firmly associate the beau?ful seFng with Ystad or Skåne – and at worst, was thought by some foreign audiences to be elsewhere.

“The love scenes are beauJfully directed with both passion and tenderness. The gorgeous Swedish countryside is a perfect semng for this story, which illustrates that love, can be lurking in unexpected places.”

“…beauJful people, beauJful scenery and beauJfully shot…”



30


Maria Larssons eviga ögonblick (Movie, 2008)

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%



Unsen?mised

Very Posi?ve

Posi?ve

Mixed

Nega?ve

Very Nega?ve

DEMOGRAPHIC PROFILE

GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT


16-‐60+

70% SWE / 30% OTHER

POSITIVE

NO DOMINANT REASON

①  Maria Larssons generated some loca?on-‐based commentary and many viewers recognised Malmö as

the sepng for this produc%on. ②  The only loca?ons that were specifically iden?fied

were either Malmö (54%) or Sweden (46%).



adverJsing cost.



€260,800 ③  Conversa?on topics chiefly concerned cityscapes (65%), historical interiors and sepngs (18%) or

strong feelings of nostalgia for Sweden and Malmö, mostly in the past but occasionally in the present.

Sample: 50

31

Key Insights

Maria Larssons eviga ögonblick (Movie, 2008)

Maria Larssons eviga ögonblick was almost always recognised as a Swedish produc%on, and oten as being set in a historical period of Malmö. However, much of this recogni%on came from na%ve audiences, and foreigners tended to focus their awareness on Sweden. Also, as it is a historical film it was praised for its period-‐specific props and seFngs. There are far less ‘real life’ loca?ons to visit and so it was harder for the audience to desire a visit to any loca?ons.

“While the words were in Swedish, I'm sure that every nuance came through clearly. We were taken to the Malmo of a hundred years ago, when even a simple photograph was the product of a skilled hand, and an inspired vision. This film, simple yet true, reflected the same spirit.”

“Maria Larssons eviga ögonblick reminded me about Troell’s unusual class awareness and clarity about gender issues. I was inspired by the film’s theme about the role of the arJst (photography in this case). I was taken back to the years I lived in Malmö, where most of the film takes place, with the city’s history of the workers’ movement and “barnrikehus” (special housing for working class families with many children), etc.”

– pellehanaeus.se (Blog)

“Filmen utspelar sig under början av 1900-‐talets Sverige och handlar om arbetarkvinnan Marias liv. Hon får en dag en kamera och börjar ai fotografera allt i sin omgivning. Hennes bilder visar ei samhälle i förändring; famgdom, vardagsglädje och krigsutbroi.”Maria Larssons eviga ögonblick” filmades i Malmö och bl a bland gatuhusen på Sofielund. (Set in early 1900s Sweden involving working woman Maria's life. Her new camera shows a changing society from poverty, to joy and the outbreak of war. "EverlasJng Moments" was filmed in Malmö and among street houses on Sofielund.)”

– idabloggen.wordpress.com (Blog)

“The semngs and the story give a good insight in life at the turn of last century in a small town in Sweden (Malmo). Fine photography throughout and a story that sweeps you up...”



32


Wallander (TV Series, 2005-‐Present)

①  Wallander generated an enormous loca%on placement value. Whilst many men?ons did not recognise Ystad itself (Sweden was not included here as ‘knowledge’ awareness), much of the audience knew it was set in Ystad and some had also visited.

②  Cityscapes (67%) or landscapes (26%) were by far the most common topics of conversa?on.



adverJsing cost.



GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT


25-‐60+

44% UK / 20% US / 11% IRE

POSITIVE

NO DOMINANT REASON

€22.8m ③  Apart from Sweden (31%), specific loca?on men?ons either referred to Ystad (52%), the police sta%on (6%) or the Hotel Con%nental (3%).

④  The only nega?ve loca?on sen?ment referred to the gloomy nature of the seFng.

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%


Unsen?mised

Very Posi?ve

Posi?ve

Mixed

Nega?ve

Very Nega?ve

Sample: 144

33

Key Insights

Wallander (TV Series, 2005-‐Present)

Wallander generated a large amount of online exposure for the town of Ystad, and all global audiences displayed a significant loca%on awareness for both Sweden and Ystad (especially in the UK). As a result of its modern and recognisable seFng with many key loca?ons in one small area, it also generated a significant desire to visit the town and this was ac?vely documented online.



“We stayed here partly because it's some of the best value accommodaJon in Ystad and partly because it was the filming locaJon for the police staJon in the second season of Swedish Wallander films. All the rooms are named a}er the roles they played in Wallander -‐ we stayed in the Advokat's room, and Wallander, MarJnsson and Svartmann's rooms are also all available. [...] It goes without saying that it's also a brilliant place for Wallander fans! I loved it here and can't wait to visit again!”

34

Overall Summary

Ystad

KEY CONCLUSIONS

Viewers will rarely have trouble recognising a na?onal

seFng but representa%ons of a region need to be

clearly iden%fiable to increase loca%on placement

value.

Modern sepngs are more likely to contribute to

loca?on awareness since people can more easily

imagine themselves visi%ng present-‐day loca?ons.

Landscape and scenery almost always arract posi%ve

loca?on sen?ment and usually contribute to online

loca?on exposure.

Produc%on genre is part of the loca?on conversa?on,

but has an indiscernible effect. Audiences will s?ll visit

loca?ons which are backdrops to tough storylines.

1. CLARITY IS KING

3. MODERN SETTINGS WORK BEST

2. THE SCENIC ROUTE

4. STORYLINES DON’T MATTER MUCH

35

Region 3 – Apulia

Data Summary

Apulia

Apulia was the most challenging region for this research since even the most successful produc?on (Che bella giornata) had almost no commentary outside of Italy – in fact, Mine vagan% was the most popular produc%on outside of Italy – and nor was it en?rely shot in Apulia. Nonetheless, it was s?ll possible to gain a picture of the loca?on awareness for all produc?ons.



“Durante i quasi 100 minuJ di proiezione si ride, spesso di gusto, sopratuio nella seconda parte del film. Se infam i primi minuJ non scorrono del tuio fluidi e mancano veri e propri spunJ comici degni di tal nome, le scene migliori sono quelle del baiesimo in Puglia, con tanto di festa paesana organizzata fra gli strem vicoli di Alberobello, con un insolito Caparezza costreio suo malgrado a cantare "Non amarmi" o brani dei Ricchi e Poveri, cosa di per sè comica per un pubblico giovane che conosca lo spessore delle canzoni dell'autore pugliese. (The best scenes are the bapJsm and fesJval in the streets of Alberobello.)”

– cinemarecensionilab.blogspot.co.uk (Blog)

“Lovely views of a southern Italian town, peppered with good food and hearty familial Jes make this a charming, enjoyable experience. I really liked the opening & ending sequences with the family matriarch.”

37

Produc%on Summary

Apulia

€8.8M BRACCIALETTI ROSSI (2014)

CHE BELLA GIORNATA (2011)

MINE VAGANTI

€1.1M

€1.7M


65% FEMALE

35% MALE

50% FEMALE

50% MALE

55% MALE 45%

FEMALE

16-‐25

16-‐60

30-‐50

96% ITA 4% Other

100% ITA

MIXED

PRODUCTION

NO DOMINANT REASON

NO DOMINANT REASON

PRODUCTION

38

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%



Unsen?mised

Very Posi?ve

Posi?ve

Mixed

Nega?ve

Very Nega?ve


Braccialep Rossi (TV Series, 2014)

①  BraccialeF Rossi generated a very significant volume of loca%on-‐based conversa%on for the Apulia region, with around half of the audience knowing where the series was set. 21% of the audience discussed a desire or intent to visit and around 8% of commentators had done so.



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GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT

65% MALE / 35% FEMALE

16-‐60

96% ITA / 4% Other

POSITIVE

NO DOMINANT REASON

€8.8m ②  However, the loca?on men?ons were largely unsen%mised factual references to Fasano (94%) as the sepng for the series, and desires to visit were usually focused on seeing the filming or cast members rather than anything specific about the town or landscape.

Sample: 50

39

Key Insights

Braccialep Rossi (TV Series, 2014)

BraccialeF Rossi fans recognise the sepng of their favourite show as Fasano, but their discussion of the loca?on is largely fact-‐based and does not seem to be regarded as integral to the story. However, there are documented visits to the town that are usually the result of a desire to meet the cast at a special event, or as a result of other online promo?on.

“Peccato che il nome di Fasano non compaia da nessuna parte, neppure nei ?toli di coda... (It is a pity that the name of the city Fasano doesn't appear anywhere, not even in the credits)”



40

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%



Unsen?mised

Very Posi?ve

Posi?ve

Mixed

Nega?ve

Very Nega?ve


Che bella giornata (Movie, 2011)

①  Despite much of this film being set elsewhere, much of the audience knew that part of it was set in the region of Apulia.

②  The region’s beau?ful landscape, Alberobello’s streets, and rural Italian culture were the key conversa?on topics and generated some desire to visit the area.



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GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT


16-‐25

100% ITA

POSITIVE

NO DOMINANT REASON

€1.1m ③  This knowledge par%cularly stemmed from the

bap%sm scene set in and around Alberobello’s

“trulli” (49% of loca%on men%ons), but Apulia in general (45%) and Bari (4%) also gained exposure.

NB: The producJon was not distributed widely outside of Italy.

Sample: 51

41

Key Insights

Che bella giornata (Movie, 2011)

Whilst it may seem that Che bella giornata did not perform as well as other box office hits, it is important to note that only a small part of the film takes place in Apulia – and it is oten this part that is well documented online (especially, the bap?sm in Alberobello). Overall, Che bella giornata demonstrates that a produc%on can benefit and promote a region through having one key and memorable scene take place in that loca%on.

“E' una comicità semplice, ma acceiabile quella di Zalone, con alcune partecipazioni speciali che fanno dei camei e la Puglia in primo piano. (It's a simple comedy, with some special parJcipaJons with Puglia as a highlight)”

“Un paesaggio come quello di Alberobello non può non prestarsi come locaJon di set cinematografici, dal 1930 con “Idillio infranto” fino al recenJssimo “Che bella giornata” di Checco Zalone, dove la musica del pugliese Caparezza ha trovato, tra le piazzeie e le stradine, lo strumento migliore per diffondersi tra gli invitaJ al baiesimo, come da copione, e tra i turisJ incuriosiJ. (Alberobello is a beauJful landscape and cityscape that has been used for many films and it is the perfect locaJon for the recent "Che bella giornata")”

“Nelle foto, scaiate ad Alberobello, la ciià famosa per i suoi trulli, immortalavano una scena del film con lo special guest, Michele Salvemini, il rapper pugliese in arte Caparezza. (Alberobello is immortalised by one scene in the film that uses its trulli.)”

“Della storia non dirò altro. Non c’è dubbio però che – dopo una parte iniziale un po’ in sordina – il film decolla e risulta esilarante in maniera quasi liberatoria. Preparatevi, in parJcolare, alla strepitosa sequenza del baiesimo festeggiato ad Alberobello! (The film really takes off at the BapJsm scene in Alberobello.)”



42


Mine vagan% (Movie, 2010)

①  Mine vagan? generated some significant loca?on-‐

based commentary, with 31% of the audience

declaring a posi%ve sen%ment to the loca%ons they

knew.



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AUDIENCE LOCATION AWARENESS VISITOR PROFILE

GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT


30-‐50

MULTIPLE

POSITIVE

NO DOMINANT REASON

€1.7m ②  The loca?ons most discussed were Lecce (67%), Apulia (16%), Punta Suina Bay (6%), and the remainder being references to Italy in general (11%).

③  The main topic of conversa?on was the beau%ful landscape (76%).

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%


Unsen?mised

Very Posi?ve

Posi?ve

Mixed

Nega?ve

Very Nega?ve

Sample: 65

43

Key Insights

Mine vagan% (Movie, 2010)

Given that Mine vagan? was one of the smaller produc%ons in this project, it generated a rela?vely large amount of loca%on-‐based commentary. Most of this commentary was prompted by the audience’s apprecia%on for the landscape in the film, and this was the main conversa?on-‐driver – even inspiring one couple to go on holiday to the region solely as a result of seeing this beauty on screen.



“My husband and I planned to make a holiday in Puglia Area and actually came first to Lecce, because of the inspiraJon of the movie “Mine VaganJ” directed by Ferzan Ozpetek. And in this beauJful place, we stayed in B&B Palazzo Bernardini for 3 nights. This was such a stunning B&B. The helpful and sincere approach of Isabella ( the owner of the hotel) was really impressive. The suite was furnished with beauJful anJques. A large living room opened to a large bedroom that opened onto a small terrace with a view of beauJful trees and flowers. The breakfast was with local croissant and special breads of Lecce; it was nice… Lecce is one of the nicest and historical liile towns in Italy. And if you need a B&B, don’t look further..”

“A very nice comedy based on the following premise: is being gay or straight the right definiJon of a person? It's well acted, moving and Italy is such a beauJful country!”

“The film is handsomely filmed and the great looking, almost-‐perfect semngs only seem to enhanced the imperfecJons of the family itself. The ediJng (and direcJon) both seem a bit too pleased with themselves: some scenes could have gained something by being trimmed a bit.”

44

Overall Summary

Apulia

KEY CONCLUSIONS

Despite the fact that two of Apulia’s produc?ons were not widely distributed outside of Italy, the region s?ll managed to perform reasonably well in terms of loca?on placement value.

Beau?ful scenery will always catch the audience’s eye,

and that they may subsequently visit a region based

on this alone, regardless of produc?on quality/ra?ng.

Just one memorable scene in a produc?on can

associate it with the region, and with las?ng effect

(e.g. Che bella giornata’s Alberobello bap?sm).

A rela?vely ‘unimportant’ feature loca?on (e.g.

Fasano) can s?ll capture the imagina?on of the

audience and arract visitors as a result.

1. PRODUCTIONS PERFORM WELL, DESPITE CHALLENGES

3. SCENERY SELLS

2. MAKE IT MEMORABLE

4. FEATURE LOCATIONS CAN STILL WORK

45

Region 4 – Malta

Data Summary

Malta

Since all of Malta’s produc%ons are well known, it was very easy to find loca?on-‐based discussion online for all three. However, since Malta is almost always less ‘featured’ or recognisable as a seFng in these movies, they provide a good contrast to the London produc?ons and each produced unique insight as a result.



“Oliver Reed at The Pub, Valleia, Malta. #gladiator”

47

Data Summary

Malta

€1.3M GAME OF THRONES (2011-‐Present)

GLADIATOR (2000)

POPEYE (1980)

€1.1M

€12.2M


60% MALE 40% FEMALE

70% MALE 30%

FEMALE

50% FEMALE

50% MALE

25-‐35

45-‐60

35-‐60+

MIXED

70% UK 12% US

18% Other

50% US 50% UK

41% UNRELATED 15% PRODUCTION

NO DOMINANT REASON

ANOMALOUS: Commentators were likely to have watched the produc?on a}er having v i s i ted a pr ime fi lming loca?on in Malta

PRODUCTION

48


Game of Thrones (TV Series, 2011)

①  Despite being filmed in many other loca?ons, Game of Thrones did generate a small amount of loca%on-‐based commentary for Malta and many fans of the series knew that it was partly filmed there (68% of men?ons surrounding the Maltese loca?ons also knew it was filmed there).



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GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT


25-‐35

MIXED (FROM 8 COUNTRIES)

VERY POSITIVE

15% PRODUCTION 43% UNRELATED

42% OTHER

€1.3m ②  General tourism was also a topic of conversa?on, and

this revealed that many people had visited Malta before realising that it was used as a filming loca?on for Game of Thrones.

③  Aside of Malta men%ons in general (32%), loca?ons referred to included Mdina (17%), Azure Window (9%) and both Valeqa and Dwejra (4%).

0%

20%

40%

60%

80%

100%


Unsen?mised

Very Posi?ve

Posi?ve

Mixed

Nega?ve

Very Nega?ve

Sample: 124

49

Key Insights

Game of Thrones (TV Series, 2011)

Arracts a lot of loca?on-‐based commentary. One theme of the conversa?on reveals that many fans have visited Malta and then only realised later that it was a seFng for the series. This suggests that more could be done to promote awareness of Malta on the Game of Thrones screen tourist trail (since some that knew it was a loca?on did visit).

“Wait, they shot in Mdina? Damn! I was there back in October last year and never even knew they filmed in Malta otherwise I would of made a point of finding that. Damnit.” “Same here. I was there last month. Guied.” “Me Too... Wish i had known...”

“I was there last month! Can't believe I totally missed the opportunity to look up where GoT was filmed. I knew some parts were filmed in Malta, but had no idea I walked right pass some of them!”



50

0%

20%

40%

60%

80%

100%



Unsen?mised

Very Posi?ve

Posi?ve

Mixed

Nega?ve

Very Nega?ve


Gladiator (Movie, 2000)

①  There was a surprisingly high loca?on exposure generated by Gladiator, since none of the loca?ons featured are easily recognisable as Malta.

②  The main topics of conversa?on were general tourism (42%), landscape (22%), ‘shrining’ (15%) and ‘pilgrimage’ (4%).



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GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT


45-‐60

70% UK / 12% US

POSITIVE

NO DOMINANT REASON

€1.1m ③  Key loca?ons men?oned were the bar where Oliver

Reed died (52%), Malta in general (13%), Fort

Ricasoli (8%) and Valeqa (3%). Other men?ons were general references to fic?onal or unrecognised

loca%ons (21%).

Sample: 77

51

Key Insights

Gladiator (Movie, 2000)

The movie Gladiator is strongly associated with Malta through online loca?on-‐based commentary, however this is not necessarily solely because of the impressive buildings and landscape featured (which was also a factor). It is also possible to observe the loca?on-‐associa?on effect that has been produced by the unfortunate and unexpected circumstance of Oliver Reed’s death in Malta during the filming. Therefore, loca?on placement is not solely limited to on-‐screen representa?on, and off-‐screen events can also have an effect.

“I’ve been to The Pub in Republic Street Valleia where Olly Reed spent his last liri on loads of booze before going to sleep forever. It’s only Jny but worth a visit for any Olly fans.”

“What a great place Olly’s last pub really nice to pay your respects and have a drink to the legend Oliver Reed me and my dad even got to sign a condolences book which was really nice and took some great pictures of inside the pub. the owner is a bit miserable but the pub itself is well worth a visit.”

“When I last visited the colosseum in 2003, I walked to the center, stretched out my arms and yelled, "Are you not entertained?" There was a small rumble of laughter and a few people (sounded like Brits) chanted "Maximus! Maximus!" My girlfriend was morJfied.”



52

0%

20%

40%

60%

80%

100%



Unsen?mised

Very Posi?ve

Posi?ve

Mixed

Nega?ve

Very Nega?ve


Popeye (Movie, 1980)

①  Popeye has generated a large loca%on-‐based conversa%on for Malta, and many viewers are aware that it was shot on a set in Malta.

②  Topics of conversa?on en?rely revolve around either the film set (68%), general tourism (24%) or feelings of nostalgia (7%) for both visi?ng the set as a child or seeing it in the movie.



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GENDER

AGE

COUNTRIES

SATISFACTION

REASON FOR VISIT


35-‐60+

50% UK / 50% US

VERY POSITIVE

ANOMALOUS: Commentators were likely to have watched the produc?on

ater having visited

€12.2m ③  This conversa?on is almost en?rely driven by references to the Sweethaven film set that s?ll stands in Malta as a tourist arrac?on. Sen?ment towards this loca?on is generally very posi?ve, albeit with a few references to its age and poor maintenance.

Sample: 129

53

Key Insights

Popeye (Movie, 1980)

Loca?on-‐based commentary for Popeye is abundant online due to the en?re film set of ‘Popeye village’ – or ‘Sweethaven’ – being s?ll intact on the island as a popular tourist arrac?on in its own right. Many people visit the set before having seen the movie, and thus this produc?on presents an anomaly whereby the loca%on serves to provide powerful ongoing promo%on for the movie.

“I bought this DVD for my grandson's birthday a}er visiJng the film set in Malta. He'd never heard of Popeye, but has watched the film six Jmes and he loves it.”

“Bought this originally on video in Malta a}er visiJng the film set about 20 years ago. Wanted to show my kids before we went back -‐ they loved it, and every Jme we visit the film set we have to watch it again!” “Just sharing a quick photo I took

with my phone this morning, at Popeye Village, Malta. SalutaJons!”

“We were here a few years ago with kids they had an absolute ball and we enjoyed it too!! Got the video out when we got home and they really enjoyed picking out the houses they had been in.”

“This is where they filmed the Popeye film, and it is exactly as it was in the film, it is superb, and brilliant for the kids. One Jp watch the film before you go you will appreciate it more.”

“I thought the set (Sweethaven), was very comical yet useable, liveable and the "no sense of Jme" previously menJoned just brings it out more. I'd visit it if I were ever to travel near Malta.”



54

Overall Summary

Malta

KEY CONCLUSIONS

The audience of fantasy produc?ons – or any

produc?ons that use ‘stand in’ loca?ons – will benefit

from clarity as to where their produc?on was filmed.

A loca?on’s novelty can result in the las?ng promo?on

of a produc?on, even 34 years ater it was originally

released (i.e. Popeye, 1980).

Events surrounding produc?ons can oten become as

famous as the produc?on itself, and oten become

forever associated with the loca?on as a result.

Given that Malta is not widely known to be a featured

loca?on in any of the three produc?ons chosen, it has

performed excep?onally well.

1. TELL US WHERE IT’S FILMED

3. NOVELTY AND LEGACY

2. LOCATION VALUE TRANSCENDS FILM PLACEMENT

4. GENERAL NOTE

55

Findings & Appendix

Overall Summary

Demonstrates the successful applica?on of a social media-‐based methodology to the measurement of ‘loca?on placement value’ in twelve unique produc?ons across mul?ple languages (including one series of films).

Shows that TV series perform as well as movie produc?ons in their loca?on placement value – and oYen perform even beqer if the loca?on is both contemporary and easily recognisable.

1. SOCIAL WEB RESEARCH IS APPROPRIATE

3. TV SHOWS AND FILMS BOTH PERFORM WELL

2. PRODUCTION SETTING IS RELATED TO EXPOSURE

4. LPV RELIES ON LOCATION AND PRODUCTION QUALITY

Exposes the link between a produc%on’s sepng and subsequent loca%on-‐based exposure and/or documented visits to a loca?on. To what degree depends on the specifici%es of the produc%on and the nature of the featured loca?on (fic%onal, recognisable, etc.).

Shows that loca?on placement value is a product of both the loca%on and the produc%on’s intrinsic quali%es, and should not be seen as dependent on either alone.

Key Conclusions

57

Recommenda%ons for Further Research Tracking, Expansion & Data Blending

Consider a ‘tracking’ programme to inves?gate how loca?on placement value may change over ?me (e.g. before, during, and ater produc?on releases) and adjust the scope of the research’s ?meframe accordingly.

Consider integra?ng GDP and tourist value sta?s?cs if working in partnership with tourism agencies (e.g. place a value on the conversa?on/visitor origin to increase granularity of the digital landscape’s value).

1. TRACK OVER TIME

3. DATA BLENDING

2. LANGUAGE SUPPORT

4. MEASURE COUNTRY LEVEL & FANTASY LOCATIONS

Increase language support for produc?ons that are only known within their country of origin.

Structure and rank ‘loca?on awareness’ for country as well as region. Also, consider incorpora?ng and ranking fic?onal loca?ons as well.

58

Appendix: Data Visualisa%on & Access Dashboard

For added transparency and future discussion, Human Digital have provided a sample of the data used in this study at the following address: hrp://dash.human-‐digital.com/euroscreen This dashboard features content used in the qualita?ve analysis of the report. The sample displayed represents the top 75% of our total sample when ranked by ‘rela?ve influence’ – i.e. how influen?al a piece of content is online in rela?ve terms of reach (visibility) and engagement (amount of people that have interacted with it). The data is also ranked by loca?on sen?ment (on the x-‐axis), and is filterable by produc?on, region, user demographic, and plazorm/channel type.

59

Buchmann, A.K In the Footsteps of the Fellowship – Understanding the Expecta?ons and Experiences of Lord of the Rings Tourists on Guided Tours of New Zealand. Lincoln University, Lincoln, 2007. Cloudberry Communica?ons, The Millennium Report Economic Impact and Exposure Value for the Stockholm region in the Swedish Millennium Feature Films. Cloudberry Communica?ons, Stockholm, 2011. Croy, G The Lord of the Rings, New Zealand and Film Tourism: Image Building with Film. Department of Management Monash University, Melbourne, 2004. European Audiovisual Observatory, Database on Admissions of Films Released in Europe (hrp://lumiere.obs.coe.int/) Film London and the Euroscreen Partnership, Case Studies 2013. London, 2013. Kraaijenzank, M Movie Induced Tourism an Analy?cal Report on how The Lord of the Rings Trilogy has Affected Tourism in New Zealand. Aalborg University, Aalborg, 2007. Mansson, Maria & Eskilsson, Lena, Euroscreen -‐ The Arrac?on of Screen Des?na?ons: Baseline Report Assessing Best Prac?ce, 2013. Olsberg SPI, Stately Arrac?on How Film and Television Programmes Promote Tourism in the UK, 2007. Oxford Economics, The Economic Impact of the UK Film Industry, 2012. Vagionis, N ‘Movies as a Tool of Modern Tourist Marke?ng’ – Tourismos Volume 6, Autumn 2011, pp. 353 -‐362. Visit Britain and Sony Pictures Partnership, BOND is Great Global Evalua?on Report, 2013. Ystar Kommun, The Movie Town Ystar, Media Analysis, 2012.

Bibliography

60

Project Team

OSMAN JUNAID

SIMON RICHARDSON

OSMAN@HUMAN-‐DIGITAL.COM

SIMON@HUMAN-‐DIGITAL.COM

61

About Us

Who we are

2011: Becomes part of the M&C Saatchi Group

2014: Partnership with Capgemini Consul%ng

2008: Founded by Sarah Ward (CEO)

Who We Are

PROFESSIONAL SERVICES

CONSUMER

PUBLIC SERVICES

EVENTS & ENTERTAINMENT

ADVERTISING / PR AGENCY

CHARACTER BASED LANGUAGES Urdu phrase: Translitera?on: Mujhe Daktar Ki Zururat He! Tranlsa?on: I need a doctor!

SENTIMENT Geordie phrase: “howay man!” Transla?on: Proclama?on of exhorta?on or encouragement (crucially, it can be both posi?ve and nega?ve!) Usage 1: "Howay man! We gannin' doon Morrisons to beat the queue?” (Unsen?mised) Usage 2: “HOWAY THE TOON!!!” (Posi?ve) Usage 3: “Howay, then” (Based on context, nega?ve)

SLANG Scouse word: “scran” Transla?on: Food Usage: 'Off to me ma's for tea -‐ she does proper boss scran, y'know.’

Context: Quan%fica%on of Words and Pictures

Social media data is challenging to quanJfy since much of it appears as word, picture and video (as opposed to more binary forms such as transacJonal or sales data). For this reason, it is criJcal for early human intervenJon during the verificaJon process to ensure high levels of accuracy. Human Digital applies an indexing methodology that allows words and pictures to be quanJfied using engagement, reach and share of voice metrics. It is for this reason that we remain the agency of choice for Transport for London, RBS, Pearl and Dean and Unilever amongst others.

CONTENT VISIBILITY

500 x bigger than the

Surface Web

The machine readable web

Unreadable by machines

Deep Web

Requires native speaking, human-led verification

Surface Web

Context: The Asymmetric Web Our methodology is not constrained to the ‘Surface Web’ – the secJon of the web accessible to machine-‐collecJng technologies. We consider every local social plaqorm across every market. Doing so enables us to establish where target audiences naturally exist.

Our Research Process

SOURCE ANALYSE ORGANISE REPORT

Unstructured data collec%on 1)  Viewing the world through the

consumers’ eyes 2)  Loca?ng primary loca?ons of

engagement & content crea?on 3)  Collec?ng all relevant UGC

Data structuring 1)  Topics of discussion 2)  Sen?ment codifica?on 3)  Consumer journey

stages 4)  All other KPIs

Human-‐led analysis

1)  Accoun?ng for linguis?c nuance & idiom

2)  Foreign language analysis 3)  Cultural context 4)  U?lising our team’s exper?se

Repor%ng

Not just answering ques%ons, but defining them, based on what consumers really feel.

Case Studies

TFL: Commercial Opportuni%es

Selling London to the World by Understanding Where Overseas Visitors Go Iden5fy commercial and other opportuni5es available by analysing geo-‐located commentary generated by Overseas Visitors across social media •  There is a belief that 25-‐30% don’t travel when there are disrup?ons but not much

knowledge about what they do instead, e.g. take car, stay at home. •  We analysed geolocated tweets which could easily be related to Oyster data and

proved to correlate highly with it. •  This provided berer informa?on than customer sa?sfac?on surveys and at a frac?on

of the cost. Tweets are real-‐?me, real and unprompted and therefore objec?ve.

TFL: Reputa%on Tracking

Quantification of Customer Dissa?sfac?on around Planned Closures Discover how the public responds to announced disrup5ons •  There is a belief that 25-‐30% don’t travel when there are disrup?ons but not much

knowledge about what they do instead, e.g. take car, stay at home. •  We analysed geolocated tweets which could easily be related to Oyster data and

proved to correlate highly with it •  This provided berer informa?on than customer sa?sfac?on surveys at a frac?on of

the cost. Tweets are real-‐?me, real and unprompted and therefore objec?ve.

Olympic Delivery Authority: Measurement

Track and Measure travel behaviour during the Olympics Deliver hourly, daily, and monthly reports to relevant stakeholders across the ODA in order to inform real Jme communicaJons, provide an early warning mechanism around travel ‘hot spots’ and measure changes in travel behaviour based on markeJng acJvity.

Olympic Delivery Authority: Measurement

Hourly Monitoring: Early Warning

Daily Repor?ng: Communications

Monthly Repor?ng: Evaluation

Unilever: Campaign Performance

Identify, Track and Measure Key Influencer Sentiment around the Dove ‘Real Beauty’ Sketches Campaign Analysis of Chinese, Arabic and English Key Influencer commentary to measure the impact of the Sketches Campaign

Unilever: Campaign Performance OBJECTIVE

To identify key Dove communities in English, Arabic & Chinese languages, and… 1.  Which channels they engage on 2.  How they speak about Dove 3.  How they perceive Dove 4.  How that perception changed over time in response to

marketing effort

3 key business outcomes: 1.  Key Influencer lndex extended from 50 to 400 within 48 hours

for campaign use 2.  Identification of influencer keyword combinations, fed into

media activity across Facebook, Twitter, YouTube 3.  Visualised data through bespoke Unilever dashboard for

global and local team access (left)

OUTCOME

Totally unscientific experiments that prove nothing - Forums

“I just feel strongly that it’s a great campaign to remind women that YOU can find your own beauty.” - Blogs

“Ohhh how fabulous an experiment to demonstrate to women they are beautiful but incredibly shallow and stupid!!!” - Blogs

This is SO Awesome! +Dove nails it again! #IntrinsicSelfWorth - Twitter

Thank You

If you have any quesJons about the contents of this report, or would like to get in touch to see if Human Digital can help your business beier understand its online audience, we’d love to hear from you.

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Travel

EuroScreen: Quantifying Location Placement Value - English Tourism to Europe